There’s almost no need to introduce No Man’s Sky, the game that was catapulted to stardom the second its concept trailers hit the Internet. The fervour surrounding it is easy to understand as it taps into that oh-so-popular survival genre that Early Access games are known for whilst upping the stakes significantly, giving you an entire universe to explore and play in. I had long been wanting a game that did full, proper space exploration for some time and so was sold on the concept early on. Then I do what I usually do, ignore any news of the game until it finally gets released and then play it with no expectations.
It seems that I might be the only person on the Internet who’s done that.
The game that No Man’s Sky teases you with is one of infinite adventure. There are quintillions (literally) of worlds to explore, each with their own unique flora and fauna. You are The Traveller, an explorer who finds themselves wrecked on a planet far from the galactic core. For some reason you’re drawn there, wanting to make your way to the centre to see what awaits you there. However it doesn’t take long for that plan to go off the rails with various threats, distractions and curiosities getting in your way. How you journey through the galaxy is up to you though and the stories you create will be yours and yours alone.
No Man’s Sky isn’t exactly the most high fidelity game out there but that’s likely due to its procedural origins. Initially my system appeared to struggle with it, the not-so-great graphics seemingly able to bring my beast to its knees. As it turns out No Man’s Sky, for some inexplicable reason, caps your FPS at 30 on PC by default. Changing that and maxing out the settings made for a much better looking and running game. The visuals themselves are passable, better than what I’ve come to expect from most games in the genre but falling short of some of the stunning masterpieces I’ve played of late. No Man’s Sky does manage to produce some screenshot worthy moments but most of the time you’ll be in an endless expanse of more of the same. This is par for the course with procedural generation as sure, you get a lot of variations, but those variations are often not that far away from each other.
No Man’s Sky is a survival exploration game on a galactic scale. Initially you’ll travel around your spaceship, looking for the parts you need to fix it. Then you’ll travel between planets, searching out different kinds of wildlife, plants and resources. Finally you’ll be able to travel between systems, each of which has its own set of unique features. When you’re planet side you’ll spend most of your time exploring the landscape, mining for minerals and cataloguing the various plants and animals you come across. When you launch into space you can trade with alien races, mine asteroids and engage in space based combat. You’ll also be presented with a few story related choices along the way: either you journey to the centre of the galaxy or you’ll follow the Atlas path. I couldn’t tell you how either of them pan out however as I gave up long before I reached the end but if you’re a die hard survival exploration fan there’s more than enough to keep you going here for quite some time.
Exploration typically takes the form of landing somewhere on a planet, checking out what minerals are common and then cataloguing the various bits of wildlife if you’re so inclined. Initially it’s amazing to see the variety in this game, from the different wildlife, planets and alien races that you come across. However it quickly starts to become repetitive after you’ve visited a dozen planets or so as many of the basic things are the same (like the habitats the aliens use) and the procedural components start to become obvious. Still for a long time I was still motivated to follow the Atlas path as that seemed genuinely interesting. However there are, of course, barriers to your progression and that’s when you’ll start looking around for upgrades.
Like many I began farming resources in order to earn the cash required to upgrade my ship, something that takes quite a bit of time if you do it the “legit” way. After getting frustrated with my progress I took to the Internet and found there was numerous ways to get ship upgrades without paying for them. Indeed this way was also one of the best ways to get rare materials for crafting so I spent a couple hours churning through ships. I tried to do the same with my multitool but, for one reason or another, RNGjesus simply didn’t smile on me and I maxed out at a 10 slot tool after numerous hours. This is eventually what ended up killing No Man’s Sky for me as I just couldn’t be bothered trying to farm the required upgrades to get to the next point. At least with the ships I felt like I was making some slow progress.
The combat, both ground and space based, is barely worth talking about. Your multi-tool is more than capable of taking out most foes with just the mining laser with the combat upgrades just making the process slightly faster. Space combat is janky at best as the flight model just doesn’t feel right. Even with a bunch of upgrades my weaponry didn’t feel anymore effective, probably because I seemed to get matched up against more foes to compensate for it. Since there’s really no penalty for death (if you can get your grave back, which you always can) it’s usually better to just die instead of trying to fight anymore than a couple foes. It’s a shame really as that would’ve been a great progression mechanic, one that I might’ve stuck around for if it was any good.
No Man’s Sky is riddled with the issues that comes with procedural generation, namely all the edge cases which you simply can’t account for until people start encountering them. I’ve come across buildings that were embedded in mountains, inaccessible unless you had a good supply of grenades handy to blast your way in. Falling through the world is quite possible and easily doable if you land in a semi-awkward position. Similarly the physics engine sometimes freaks out if you clip terrain in a certain way, flinging you away with enough speed for the game to think you’ve engaged the pulse engines. There was also a couple times my frame rate dropped to slideshow levels which I could only attribute to some poorly optimised particle effects which were thankfully gone when I reloaded my last save. I’m sure some of the more egregious issues have been fixed in the weeks since I finished playing No Man’s Sky but they certainly did nothing to endear it to me.
No Man’s Sky strives to inspire a feeling of awe in you through the act of exploration. The base game does a good job of that however the ancillary plot, where The Traveller tells you that its feeling awe, is less convincing. Since there’s not a lot of build up as to why you’re trying to get to the centre (or follow the Atlas path) it’s hard to empathise with The Traveller’s varying emotions. I honestly wasn’t expecting much though, this is a procedurally generated game after all, but the disjoint between the potential of the emergent stories versus the curated plot was somewhat jarring.
Now whilst I may have avoided the hype I’m not ignorant to the controversy that’s surrounded the release of No Man’s Sky and I do believe it merits addressing. As a standalone game No Man’s Sky is a good, but not great, title that I’m sure would appeal to certain niche. Not knowing of potential features I felt no loss at them not being there and so harbour no ill will for Hello Games. Indeed I feel like we, the gaming community, need to temper our expectations for any game lest we set ourselves up for Molyneux levels of disappointment. Sure Sony and Hello Games are partly to blame for this, whipping the community into a frenzy with teasers and interviews and whatnot, but we gamers are better than that. We’ve all been here before, with promises of games that would redefine genres or push them to new heights, only to be disappointed when the reality did not meet our expectations. If No Man’s Sky was released on Steam Greenlight for $30 and spent the next 2 years in Early Access no one would be shouting “BROKEN PROMISES” as loudly, yet because it had a full release it seems everyone feels entitled to voicing just how angry they are.
TL:DR, stop getting so hyped. It never works out how you’d expect it to.
Good but not great is the tagline I’d go with to sum up my experience with No Man’s Sky. I know of a few friends who’d love it as they’ve sunk many hours into similar games like Terraria or The Forest. For others, like me, it was an interesting aside but quickly became repetitive and so I left it behind. This isn’t unusual, indeed there have been many higher budget games which I’ve done the same with, and shouldn’t count against it if the concept interests you. Even looking back, after getting burned by the grind/upgrade cycle, I still think it’s worth playing, even if it’s just to see a few different planets and systems before it gets shelved. That might not be worth the asking price for you but that’s not a judgement I’ll make for everyone. For me, someone who got 15 hours of game time out of it, No Man’s Sky was worth it, even if I may never go back to it again.
No Man’s Sky is available on PC and PlayStation 4 right now for $59.99 and $99.95 respectively. Game was played on the PC with 15 hours of total play time and 45% of the achievements unlocked.
Spurred on by the success of Far Cry 3 Ubisoft seems intent on transforming the series from its once long development cycle into a yearly release event. Whilst fans of the series are likely to relish this in the short term it does make one wonder just how long it can be sustained before it becomes as derided as other yearly franchises are. For now though it seems like Ubisoft haven’t yet run out of ideas to work into the Far Cry mold with the latest being Far Cry Primal. Whilst it retains much of the IP’s stylings Primal does manage to stand on its own, even if it’s still troubled by the same issues that come with all of Ubisoft Montreal’s open world titles.
You are Takkar, member of the Wenja tribe who has been travelling for many suns to reach the promised land of Oros. It has not been an easy journey, with your brother falling to a sabre-toothed tiger mere days before reaching your final destination. Upon arrival you learn that Wenja of Oros have been scattered to the wind, terrorized by another tribe who seeks to cannibalize the Wenja. It is up to you Takkar to unite the Wenja together and protect them against the Udam.
The Duna Engine 2 is as capable as ever, bringing with it the impressive visuals that are becoming a trademark for the Far Cry franchise. The graphics are at their most impressive when you’re up high, surveying the surrounding landscape and taking in the expansive views. The wide and varied environments, whilst being completely unrealistic (seriously you can walk between a temperature tropic environment to snow capped mountains in under a day), are great a keeping the visual variety up even after hours of game play. The experience loses its sheen somewhat when you’re up close but that’s part for the course in these large open world sandbox games. It might not be a huge upgrade over its predecessor, even with my new beast rig powering it, but at least this time I was able to enjoy it in high frame rate G-Sync-ed goodness.
Far Cry Primal follows the series’ formula for the most part whilst brining in some new mechanics to make it stand out. You’ll still be assaulting outposts (stealthily if you have the patience), crafting using materials you gather along your journey and unlocking skills using the tried and true levelling system. On the flip side you now have a village to take care of, one that will provide you with numerous benefits as the population grows. You’ll also be quickly empowered with the ability to tame many of the animals you’ll stumble across, many of which will provide you with some additional benefit. These changes, coupled with the new setting and the limitations that come along with it, make Far Cry Primal feel familiar to those who’ve played the series before but different enough to keep you interested.
Combat keeps the same basic mechanics from the previous Far Cry titles however it’s limited by the array of weaponry you have at your disposal. Previous games usually threw dozens of weapons at you to use, allowing you to pick the perfect gun for any encounter. Primal, by contrast, is limited to a few types of weapons with each of them having 1 or 2 variants for you to unlock. This means that, for the most part, combat encounters will play out along a very similar line depending on which weapon you choose. Sure you can switch up at will but you’re either arrowing people from afar, jabbing at them with a spear or swinging your club wildly in the middle of a group of enemies. This limitation is born out of the setting, for the most part, and its admirable that Ubisoft stuck to it by not letting you build a crossbow or something equally out of place.
The taming mechanic is definitely Far Cry Primal’s stand out feature, allowing you to have a predator by your side to take down enemies and provide a number of other benefits. It’s quite satisfying to find a rare animal, track it down, tempt it with bait and then claim it as your own. The master beast hunts, of which there are 3, are also quite enjoyable and provide you with a companion that feels completely overpowered. Indeed soon after I unlocked them I went straight for the sabre-toothed tiger quest which had the highest stats of all of them and, as a side benefit, is also rideable with the appropriate talents. Suffice to say most of the other beasts I tamed past that point didn’t really get much of a look in as the tiger is simply too good at what it does. This might be because it ties into the way I found myself playing (running in, bow blazing) so I’m sure the other beasts have their uses. Still it’s an idea that I’m sure Ubisoft could expand on, either in the Primal world or in other future Far Cry instalments.
The level and talent systems are well designed with talent points coming at you thick and fast. This means you’re never wanting for progression, ensuring that if you want to unlock a particular skill you shouldn’t be far off getting it. I favoured crafting/gathering skills mostly as that seemed to be the main roadblock but you could just as easily focus on other ones that improved your quality of life in other aspects. The better talents will require far more points than the lesser ones, something which does slow down progression a little towards the end. Still though there’s enough missions, encounters and random events around the place that it’s just a question of how much time you want to put in before you get bored.
Like all sandbox games though Far Cry Primal starts to get repetitive after a while. The encounters, non-campaign missions and even the outposts all play out very similarly. The enemies naturally progress up in toughness in the way you’d expect them to: gaining one-shot headshot protection, more armour, ability to call reinforcements, etc. Gathering becomes a chore when you have to track down rare animals or ingredients, something which the game does not really help you with at all (the map and scent trails rarely lead you to what you actually need). The one thing that Primal does have going for it though is that it’s a much more succint experience, clocking in at a couple hours shorter than most titles if you play it like I do, focusing on the campaign.
The main campaign is unfortunately a little confused, lacking the overall cohesiveness that previous titles had with the single arch-nemesis plot line that ran throughout the entire campaign. Instead it’s split into 3 different enemy tribes that threaten the Wenjas. There’s a semblance of continuity between them however upon beating what appears to be the “final” boss you’re simply sent back to your village to continue on. It was honestly very confusing as all the other titles, whilst having similar mini-bosses along the way, was always building up to a big final battle. Primal lacks that and unfortunately feels worse off for it. The individual stories are still interesting, it’s just that there’s nothing to combine them all together into one whole that’s larger than the sum of its parts.
Far Cry Primal shows that yearly franchise releases can be done whilst still bringing fresh ideas to the table. The base game elements will be instantly familiar to long time fans of the Far Cry series with enough new elements to keep you coming back for hours on end. The taming mechanic is the best feature, adding in a new layer of game play that none of the other instalments have had. However it’s still not able to break away from the issues that plague sand box style games, which is only made worse by the lack of cohesion in the main story and campaign missions. It was a fun 12 hours though but definitely not a game I’d want to invest enough time into to 100% (which, by my rough calculations, would take about 36 hours). Far Cry Primal is definitely worth a look in however, both for Far Cry fans and general gamers alike.
Far Cry Primal is available on PC, XboxOne and PlayStation4 right now for $59.99, $77 and $77 respectively. Game was played on the PC with 12 hours of total play time and 37% completion.
PC ports of mobile games have mostly been of low quality. Whilst many of the games make use of a base engine that’s portable between platforms often those who are doing the porting are the ones who developed the original game and the paradigms they learnt developing for a mobile platform don’t translate across. There are exceptions to this, of course, however it’s been the main reason why I’ve steered clear of many ported titles. The Silent Age however has received wide and varied praise, even after it recently made the transition to the PC and so my interest was piqued. Whilst the game might not be winning any awards in the graphics or game play department it did manage to provide one of the better story experiences I’ve had with games of this nature.
You’re Joe, the lowly janitor of the giant research and development corporation Archon. For the most part your life is pretty mundane except for the wild and wonderful things that your partner in crime, fellow janitor Frank, tells you about. One day however you’re called up to management and, lucky for you, it’s good news! You’re getting promoted, taking over all of Frank’s responsibilities because you’ve shown such dedication to your job (with no pay increase, of course, you understand). When you go down to inspect the place where you’ll be doing your new duties however you notice something strange, a trail of blood leading into one of the restricted areas. Following that trail starts you on a long journey that will eventually end with you saving the world.
The Silent Age comes to us care of the Unity platform however you’d be forgiven for thinking that it was an old school flash game that had been revamped for the mobile and PC platforms. It shares a similar aesthetic to many of the games from the era when Flash reigned supreme with simple colours, soft gradients and very simple animations. On a mobile screen I’m sure it looks plenty good although on my 24″ monitors the simple style does lose a little bit of its lustre. Still it’s not a bad looking game by any stretch of the imagination but you can tell which platform it was designed for primarily.
Mechanically The Silent Age plays just like any other indie adventure game with your usual cavalcade of puzzles that consist of wildly clicking on everything and trying every item in your inventory to see if something works. The puzzles are really just short breaks between the longer dialogue sections which, interestingly enough, are all fully voiced. There’s a small extra dimension added by the time travel device, allowing you to travel to the past or future at will, but it’s nothing like the mind bending time manipulation made famous by some other indie titles. Other than that there’s really not much more to The Silent Age something which I ended up appreciating as it meant there wasn’t a bunch of other mechanics thrown in needlessly. It’s pretty much the most basic form of an adventure game I’ve played in a while and that simplicity was incredibly refreshing.
The puzzles are pretty logical with all of them having pretty obvious solutions. There’s no real difficulty curve to speak of as pretty much all of them felt about on par with each other, although there were a few puzzles that managed to stump me completely. Usually this was a result of me missing something or not recognizing a particular visual clue (a good example being the pile of wood in the tunnel under the hospital, it just looked like background to me) so that’s not something I’d fault the developer for. Some of the puzzles were a little ludicrous, requiring a little knowledge about how some things could potentially interact, but at least most of them wouldn’t take more than ten minutes or so of blind clicking to get past. Overall it wasn’t exactly a challenging experience which I felt was by design.
The PC port was a smooth one as pretty much everything in the game worked as expected. The 2D nature helps a lot in this regard as there’s a pretty good translation between tapping on the screen and using a mouse cursor but I’ve seen lesser developers even manage to ruin that. There was one particular problem which caught me out several times however which was that my mouse, if it strayed outside the bounds of the main window, would not be captured. So every so often I’d end up clicking on my web browser or whatever else I had open on my second monitor at the time, closing the game down. A minor complaint, to be sure, but one that’s easily fixed.
The story of The Silent Age is one of the better examples I’ve come across recently, especially for a mobile title. Whilst it’s not exactly the most gripping or emotionally charged story I’ve played of late it does a good job of setting everything up and staying true to itself internally. Of course whenever you introduce time travel into a story things start to get a little weird depending on what model of causality and paradox resolution you ascribe to and The Silent Age is no exception to this. However they manage to stay true to the rules they set up which is more than most high budget films are capable of. Overall I’d say it was satisfying even if it wasn’t the most engaging story.
The Silent Age is a succinct story told through the medium of video games, one that manages to avoid many of the pitfalls that have befallen its fellow mobile to PC port brethren. The art style is simple and clean, reminiscent of Flash games of ages gone by. The puzzle mechanics are straightforward, ensuring that no one will be stuck for hours trying every single item in their inventory to progress to the next level. The story, whilst above average for its peers, lacks a few key elements that would elevate it to a gripping, must-play tale. Overall The Silent Age was a solid experience, even if it wasn’t ground breaking.
The Silent Age is available on PC, Android and iOS right now for $9.99, $6.50 and $6.50 respectively. Game was played on the PC with approximately 2 hours of total play time and 71% of the achievements unlocked.
Many games have sought to catch some of Telltale’s success by emulating their trademark brand of story-first games. For the most part this comes in the form of copying the core mechanics, usually with regards to the dialogue choices and the quick time based action sequences. Few however have attempted to emulate the cel-shaded comic book style as most of them have their own art direction that they want to pursue. D4: Dark Dreams Don’t Die appears to be an almost blow for blow recreation of the Telltale style, down to the art direction, however the similarities really are only skin deep. Whilst I admit I decided to play this to lambaste it for its almost shameless imitation the actual experience was something I didn’t expect, a rare occurrence for this humble writer.
You are David Young, former detective with the Boston Police Department and recent widower to his beloved wife; Little Peggy. The tragic incident that took his wife away left him with an amazing gift, the ability to travel back in time to see the past as it happened. He can’t do this at will though, only through the use of objects that hold some significance to the past, but those mementos are what he needs to achieve his real goal: to find “D”. Before she died Little Peggy told David to look for D and so David left the BPD to pursue this elusive character in the hopes he can unravel the mysteries behind her murder.
As I alluded to earlier D4 emulates the Telltale style of games by using cel-shading to make everything look like a cartoon. Like most games that make use of this stylization it works well for the most part however every so often the 3D world just doesn’t interact well with with it, leading to some rather weird moments. Probably the biggest stand out of this is the incessant bubble gum blowing that the main character does which just looks silly, especially when his lips don’t move the whole time he does it. It also doesn’t look too great up close, something which becomes painfully apparent when the game zooms up on a character’s face for whatever reason. Overall though the visual quality feels above average, even if I include the venerable Telltale games in the mix.
Like nearly all games of a similar style D4 is an adventure/puzzler, putting you in various cordoned off rooms with dozens of objects to interact with to solve the current objective in order to progress to the next section. It may not seem like a lot at first however once you get to the end, which displays your completion level, it becomes clear that there really is quite a lot hiding in every room of D4. These additional objects are usually things that will flesh out the backstory of the various characters in D4 whilst some will unlock non-gameplay impacting collectibles like new clothes for the characters. There’s also a quick time event based combat system which gets engaged during high tension moments, something which most gamers lament but actually felt relatively well implemented. Finally there’s skerricks of a RPG style progression system in the game in the form of stamina (used when you interact with objects), life (lost when you fail a quicktime event) and vision (used to identify things you should interact with) all of which can be improved with the right clothing or finding a certain collectible. This all adds up to a game which, if you so wish it, has quite a lot of replayability about it or can simply be played from start to finish for the story without a care for the rest of it.
The puzzles are pretty straight forward since there’s no inventory to speak of, meaning that they can all be solved by simply clicking on enough things and stumbling through the right dialogue options. If you’re paying attention you can skip quite a lot of the fluff however doing so can rob you of important pieces of backstory that help to flesh out your character’s motivations and those of others around him. For the most part though if you take the typical “click on all the things” approach that most of these kinds of games encourage then you’re likely to stumble across all the pertinent plot points without too much worry. Even if you miss them you can go back and replay the episode again which won’t take long if you know exactly which buttons to press.
Mechanically D4 plays well for the most part however the quick time detection seems a little off at some points as the achieved “sync rate” can be a little random. I’ve had times when I completely fumbled it and got 100% whilst other times I’ve done it perfectly (or so I thought) and gotten 50%. This mostly happened on the diagonal ones so I figure there’s something a little wrong in the detection algorithm for that particular quick time event. There’s also almost no way to tell how to “stay in character” with the dialogue options in order to get 100% sync as most of them seem in line with what David would say, just some are more or less dickish than others. There might be some kind of hint or mechanic that I didn’t fully understand that makes this a lot clearer but unfortunately for me I just didn’t figure it out.
D4’s story starts out incredibly weak as it has a really confusing blend of elements (supernatural powers, a detective with amnesia, a person who acts like a cat for some inexplicable reason) that don’t seem to gel well together. However over the course of the first 2 episodes that come with the initial game most of them start to make sense and the story really starts to pick up as you uncover more clues to the events that happened prior to the game. Like most episodic games it feels unfair to judge the game based on just a fraction of the whole story but D4 at least has one of the stronger foundations on which to build upon so it will be interesting to see where the developers take it from here.
It would be so easy to write off D4: Dark Dreams Don’t Die as a simple Telltale clone however the game comes into its own over the course of the first two episodes. Sure it may not be the graphical marvel that many other games might be, nor is its quick time event system completely satisfactory, but it does provide a rather enjoyable experience. Whilst the director doesn’t know how many episodes the story might have suffice to say there’s easily enough build up for at least a full season and hopefully those episodes are forthcoming sooner rather than later. If you’re a fan of the Telltale style of games then you won’t be disappointed with D4: Dark Dreams Don’t Die.
D4 : Dark Dreams Don’t Die is available on PC and XboxOne right now for $14.99 and $19.95 respectively. Game was played on the PC with a total playtime of 3 hours with 42% of the achievements unlocked.
It’s been a while since I’ve had a good story first pixelart game come my way. It seems the indie scene has begun to move away from them as they seek out more profitable ground in zombies and survival simulators. That has left something of a void behind, leaving only those with a real passion for this particular style of games behind. So whilst I may not be spoilt for choice like I once was I can’t deny that the quality has definitely gone up a notch or two, especially from my favourite publisher in this genre. The latest title from Wadjet Eye Games, Technobabylon created by the developers at Technocrat Games, is no exception to this providing the kind of deep story and fanciful pixelart that has become a signature of all their published games.
In the distant future of 2087 the world has changed dramatically with the wonders of science working their ways into our everyday lives. Genetic engineering is commonplace with children and adults shaped by gengineers, allowing them to sculpt their perfect human form. The story takes place in the City of Newton, the ultimate expression of a science based society that is controlled by a benevolent AI called Central who handles the daily machinations of the city. Many now choose to spend their days in the Trance, a fully simulated reality where ideas flow freely, consciousnesses meld and drift apart and, of course, anything goes. It seems like a picture perfect future but there are many actors that would upset the balance or turn it in their favour.
Technobabylon brings the standard pixelart affair making no use of modern graphics tricks to jazz up the visuals. It was interesting to see so many different rendering options available through the setup program however none of them seemed to make much of a difference to the graphics on screen. I’ll admit I only played with a few of them, mostly to see if I could get it out of the 4:3 aspect ratio it runs in (you can’t) so there’s potentially a setting in there that makes everything look amazing. Still Technobabylon has its moments where I was thoroughly impressed with what they managed to accomplish (the final 3D-ish scenes are a good example of this) with the pixelart medium, something I’ve come to expect from the games Wadjet Eye publishes.
Technobabylon is your typical pixelart adventure game, taking it’s cues from the multitude of titles of yesteryear and those from the renaissance period that pixelart games have recently enjoyed. At it’s core Technobabylon is a puzzler, challenging you to find the right thing to combine with the other thing, which dialogue options to choose to get someone to say the right thing and figuring out what you need to click on to make something happen. Like most modern incarnations of this genre Technobabylon has an improved and simplified inventory system making it a lot less of a bother to try item combinations than it once was. Unlike some previous titles though there’s no combat to speak of and any situation that may result in your untimely demise will simply respawn you right where you left off. So overall no real surprises here in terms of mechanics as is pretty standard for many games in this genre.
The puzzles are pretty well done for the most part, ensuring that you soak up every skerrick of a clue to make sure you can progress to the next stage. Some of them require you to have a little bit of knowledge of how some kinds of systems would work (say for instance what security mechanisms a hand print scanner would employ) but for the most part you should be able to figure them out based on clues in the current room/level. I will admit that I got stuck about a half a dozen times, reaching for the walk through guide (which I honestly wish all review copies would come with) to get me past a section I just couldn’t seem to figure out. The puzzles I figured out on my own though were quite satisfying, especially when I felt I figured something out that the developer obviously thought would stump me for a while.
I can’t remember what the engine was that Technobabylon mentioned it used at the end however it suffers from probably one of the most annoying bugs I have ever come across. Should you use SHIFT + TAB to open up the Steam chat window whilst playing the game all the dialogue boxes from then on flit past, as if you’re holding down the space bar or left mouse button. This issue will persist for as long as you remain in the game and can only be fixed by exiting out and coming back in again. I first noticed this with A Golden Wake (although it was triggered by ALT + TAB) which, I’m guessing, uses the same engine. It’s not so much a critique of the game per se, the developers fixed numerous issues that I saw during my playthrough before release date, more something that budding indie devs might want to be wary of.
As is trademark for nearly all Wadjet Eye games Technobabylon carries with it a fantastic story, one that’s steeped in futurism and radical ideas about what technology can bring us. All the main characters are given plenty of time to develop their back story which are expertly intertwined with each other. Most characters have oodles of non-critical dialogue options which serve to build out the story. Even better still is the fact that the vast majority of content within Technobabylon is voice acted so you’re not going to be stuck reading walls of text for hours on end. The only fault with Technobabylon’s story is that it lacks a really deep emotional hook to draw you in, something like the opening minutes of Ori and the Blind Forest, which would really seal the deal on this otherwise great story.
Technobabylon is a great example of the modern pixelart adventure game, bringing along with it a great story that’s just oozing futuristic tones. It might not be the most revolutionary games, playing it safe by keeping the mechanics simple and the puzzles accessible, however the experience it provides is above many of its competitors. If, like me, you had been left wanting for a good adventure game for some time then you really can’t go past Technobabylon as it’s sure to provide you with many hours of enjoyment.
Technobabylon is available on PC right now for $14.99. Total game time was approximately 7 hours. A copy of Technobabylon was provided to The Refined Geek for the purposes of review.
For gamers who’ve been craving solid stories where the player has real agency the last couple years have been a real boon with dozens of titles being released. Telltale remains the king of this particular genre and their style can be seen influencing nearly all others, for better or for worse. Life is Strange, the second game from Dotnod Entertainment who’s only previous title was the rather lukewarmly received Remember Me (although I quite liked it), definitely draws inspiration from the Telltale style but strives to stand out through their use of mechanics and more down to earth setting. For the most part it pulls this off however there are a few key things that, unfortunately, get in the way of the story.
Max had always dreamed of this and it was finally happening: she was going to Blackwell Academy to study under one of her photographic idols. It was so surreal coming back to the place she left 5 years ago, her home town having changed in subtle ways. Everything was going well, or as least as good as it could be given her shy and recluse nature, until she found herself in the grips of a strange nightmare in the middle of class. Upon waking however it appeared that she wasn’t asleep and events that had happened before seemed to be happening again, like the strongest case of deja vu you would have ever experienced. Her return home was about to take a turn for the supernatural.
The art style was described by the developers as “impressionistic rendering” which essentially boils down to them using hand painted textures. In some parts this works well, especially in the wider shots where the detail isn’t so important, however up close the stylization loses its lustre very quickly. This lack of detail is present in almost all scenes from the character models to the environments to even the animations which, jarringly, never seem to line up with the character’s speech. Indeed out of all the aspects of Life is Strange the visuals are the weakest, often getting in the way of the story coming across due to how jarring they are.
Life is Strange is your typical story-first adventure title where the focus is on developing the story and characters whilst giving you some real agency in sculpting how the story develops. However you’re given the unique ability to rewind (but not fast forward) time, allowing you to do things that would otherwise be impossible. Interestingly this ability is extended to all the key decisions within the game, allowing you to see how each of your choices would have played out. You can’t rewind infinitely though but it does give you an indication of how a particular decision would’ve played out and the potential consequences that could arise from it. Apart from that there’s a few rudimentary puzzles thrown in here or there, all of which make use of the rewind mechanic, but they’re a minor distraction from the rest of the game however.
For those of you who played Remember Me the rewind mechanic will be somewhat familiar as it’s very similar to the memory replay mechanic. Most of the time you’ll be rewinding to try and catch some kind of detail or figure out a series of events that needs to unfold in order to progress to the next stage. Interestingly items you pick up and your position in the world don’t change when you rewind, something which takes a little getting used to since that’s different from most other time travel games I’ve played in the past. Suffice to say the main mechanic is novel and definitely makes Life is Strange stand out a little more from the current crop of story-first games.
Thankfully Life is Strange does avoid the common pitfall of attempting to put in too many game mechanics that many story first games do, usually to avoid being lumped in with the walking simulators. The puzzles are relatively simple and the game usually gives you an indication of what you need to do through audio cues or visual prompts so it’s unlikely you’ll get stuck on them for any length of time. Instead Life is Strange encourages you to explore around your environment, uncovering bits of back story for all the characters you’ll come across and gaining insight into what Max is thinking. It’s a good balance, one that I’m hopeful more games like this will be able to achieve so their stories can shine rather than being hidden behind needless tedium.
As this is the first episode of what’s shaping up to be a 5 part episodic game it’s hard to get a complete picture of the story however this first instalment is a strong one. Life is Strange does require you to explore quite a bit in order to get the full picture and there’s a treasure trove of back story hidden in the journal that’s never really made reference to. However if you spend the time to explore, read and soak in the various details of the story it’s clear that there’s a rich world of detail that the writers are drawing on and the supernatural aspects are simply an aside rather than the main draw card. Overall this first episode sets up the game with a strong base, now all that’s left is to see if they can build on that and, potentially, give Telltale a run for their money.
Life is Strange is an interesting change of direction for Dotnod Entertainment, casting off their action roots in favour of a story first experience that, for the most part, achieves what it set out to. It’s quite clear where the majority of their focus was however and unfortunately some aspects of the game suffer because of it. I’m often of the mind that graphics don’t matter if the story is strong however Life is Strange’s art style and simplistic lip syncing detracts heavily from its well crafted story. This is somewhat made up for by the novel time rewind mechanic and strong story but it’s hard to escape it when you’re constantly reminded of the rather below par visuals. I am interested to see where this story goes however as it has the potential to set up Dotnod as one of the few developers able to execute well in the episodic game space.
Life is Strange is available on PC right now for $4.99. Total play time was 2 hours.
You’d have to be willfully ignorant to not have come across the massive sensation that is Game of Thrones. I have to admit that I’m one of those people who only discovered it through the TV show, much at the behest of many of my friends who’ve urged me to read George R. R. Martin’s epic works. Still it’s easy to see just how detailed the world he created is with deep and complex political landscapes that stretch back over countless years. It was interesting then to hear that Telltale Games would be doing a title within the franchise as whilst they certainly have the pedigree to bring a story to life the world of Westeros isn’t exact their modus operandi. Indeed their entry into this gritty and uncaring world seems to signal that Telltale wants to begin rising above its current station, and that it has the skills to do so.
MINOR GAME OF THRONES SPOILERS BELOW
The Forresters have been the bastions of the Ironwood forests for countless generations and loyal to the Starks for just as long. That loyalty is what led them to be in attendance for the horror that was The Red Wedding where many of their men met their fates. You are Gared Tuttle, squire to Lord Gregor Forrester, who managed to escape the violence in order to carry a message from your lord back to the house of Forrester. Unfortunately the tragedy that befell you at The Red Wedding has also spread to everywhere else and now the house which you have long been loyal to is under threat. Can you fight your way out of this? Or will you use the more delicate hand to beguile your enemies and have them fall on their own swords?
PLOT SPOILERS OVER
Telltale has a very distinctive style when it comes to the games they create, favoring the heavy bordering and solid colours that are typical of their graphic novel inspired works. This has been reworked somewhat for Game of Thrones, dumping the cartoony look and instead aspiring more towards realism than any of their other games have done previously. This has also come with an upgrade in visuals in almost all regards although the semi-stiff animations and less-than-stellar attempts at depth of field do leave a little bit to be desired. Still it’s hard not recognise that this is most definitely a big step up for Telltale games and potentially signals towards them feeling comfortable enough to experiment with the format they’ve perfected.
The signature Telltale style makes a return in Game of Thrones, putting aside most traditional game mechanics in favour of focusing on developing the story and the characters within it. The majority of action sequences play out as a series of quicktime events, throwing up keys to press or mouse movements to make in order to get through a section. The heart of their style is, as always, the dialog system which includes a breadth of options that will shape the game in numerous ways depending on which one you select. Unlike previous Telltale games however Game of Thrones jumps between several different characters, mimicking the format of its source material. All in all there’s nothing too revolutionary about the game itself which isn’t surprising since this is a Telltale title.
Indeed Telltale is probably one of the few game developers out there who are able to get away with doing this since the innovation comes from their ability to tell a good story rather than develop new and novel game mechanics. For story-first titles it’s often better to err on the side of simplicity as too many mechanics, or just a couple poorly constructed ones, quickly distract from the story. This is what titles like Always Sometimes Monsters got wrong, thinking that a variety of different mechanics was necessary in order to keep the player engaged. Nothing could be farther from the truth, so long as the story that you’re telling is engaging enough.
Depending on what your current level of involvement is with the Game of Thrones franchise the story will likely mean a different many things to you although it does tend to assume you’re coming from the TV series rather than just the books. The story begins at the end of the third season and is slated to continue through until the end of the fifth. This means that, unless you’re up to that part in the series, there’s potential for bigger events to be spoiled and pivotal characters that have just recently appeared in the series likely won’t make a great deal of sense to you. Thus to properly experience the story you’d best be placed to catch up to the end of the third season. Who are we kidding though, you’ve already watched it twice.
The story itself is quite engaging, following a thread that’s apparently present in the books but yet to be explored in the series, retaining many of the qualities that made Game of Thrones so popular in the first place. The story isn’t written by George R. R. Martin himself though, rather he sent along his personal assistant Ty Corey Franck (a successful writer in his own right) to be a story consultant with Telltale. Since this is just the first episode there was still a lot of worldbuilding to be done so it wasn’t the most gripping story yet, however many of the events that have taken place are setting the scene for much grander things to come. I definitely have high hopes for Telltale’s version of Game of Thrones and I’m interested to see where they take it.
Game of Thrones is another excellent story-first title from Telltale games, taking the essence of what made their style so popular and maturing it to match the gritty world that George R. R. Martin had created. The graphics are the most notable departure from the Telltale style, ramping it up to a more realistic style whilst still retaining the same feel. However the core of what make their games great, their skill with storytelling, is very much the same and the world of Westeros provides a great canvas for them to paint a new story. Overall for fans of Telltale or the Games of Thrones franchise this title will be certain to delight and is most certainly worth the price of admission.
Game of Thrones is available on PC right now for $29.99. Total play time was 2 hours with 100% of the achievements unlocked.
I can remember 8 years ago when Dreamfall first came out and my collective group of friends all talking about playing it. This was just when my love of cinematic styled games was starting to bloom with titles like Fahrenheit only just having graced the shelves. However I was told with no uncertainty that if I was going to play Dreamfall I had to play its predecessor, The Longest Journey, before I could dive into it. Considering that game is some 40 hours long (or more, depending on how long you got stuck on the rubber duck puzzle) it would be no small investment but suffice to say I’m glad I did. After a wildly successful Kickstarter campaign Red Thread Games is finally continuing the story of Zoe Castillo and her journey to save two worlds from the impending darkness.
Betrayed by a mother she only just found out was still alive Zoe has been trapped in the story time, a place which exists between the twin worlds of Stark and Arcadia. Her body lies motionless in the real world, hooked up to a machine that ensures she stays alive but makes no attempt to bring her back. She has found purpose in this world however, saving those who’ve become trapped in their dreams by the Dream Machines by guiding them back to the light and warning them of their danger. This is not what was intended for her however as the darkness that threatens to engulf both worlds still spreads even in her absence. It is time for Zoe to make a return to the real world and to return to her journey.
Dreamfall Chapters looks decidedly previous gen in terms of graphics as it lacks much of the graphical fidelity of its current gen brethren. Primarily this is a function of its use of Unity and cross-platform ambitions which limit the amount of eye candy you can use. However that being said it’s far from an ugly game, with lovely expansive environments that are just brimming with details. It’s definitely best played with an expansive view (both figuratively and literally) as the bigger picture is so much more than the sum of its constituent parts.
Dreamfall Chapters takes inspiration from the Telltale style of story based games, stripping away all but the essential mechanics and instead placing a heavy focus on the story and player agency. You’ll be following the stories of 2 individuals, the first being Zoe Castillo, the main protagonist from the first Dreamfall game and Kian Alvane, another one of the main characters from the previous title. Dreamfall Chapters retains its adventure game roots, giving you all manner of puzzles to solve in order to progress the story, however it now also includes choices, both major and minor, that will affect the outcome of story. It’s a formula that’s worked well for Telltale for the past and to their credit Red Thread Games have managed to take the essence of it and make it their own.
In terms of game play this first instalment (Dreamfall Chapters is now an episodic game) feels a lot like an extended tutorial coupled with a reintroduction to all the characters, worlds and stories that exist within them. A lot of the mechanics you’ll encounter, like shining a light on things to reveal something that can’t be seen otherwise, are mostly things you’ll only encounter once in the game but are obviously being set up for use again later down the track. You’ll be able to pick up the vast majority of them without too much hassle especially if you’re a long time adventure game player. There are a few puzzles which feel like they’re an homage to the ridiculous puzzles of yore (the pillow on a broom is one example of this) however for the most part you likely won’t find yourself stuck at one point for an inordinate amount of time.
The dialogue choice system is probably Dreamfall Chapter’s stand out feature as it’s leaps and bounds above what’s in most other story-first games. Instead of being given a bunch of options to choose from with just a small blurb to go on you’re instead treated to the inner monologue of the character as if they’re making that decision. This has two benefits, the first being that you’ll always be sure that the decision you make is in line with what you choose. Secondly you can get a feel for how Zoe thinks her decision will pan out which can sometimes change your mind on how you want a particular situation to play out. On the flip side however this does require you to go through the options fully before making a decision as the dialogue that follows is usually brief and provides no further insight that what can be gleaned from listening to their musings prior.
Mechanically the game is pretty much bang on with performance being great and not a crash to be seen throughout my playtime. However the look to select system feels a little wonky, often requiring you to shift your character and camera around multiple times in order to be able to interact with something. This can be rather frustrating when you notice something pop up (a little eye indicates you can interact with something) only to have it disappear the second you stop to try and click on it. It’s not something that will prevent you from progressing within Dreamfall Chapters, but it does feel like it happens more than it should.
Dreamfall Chapters does a good job of setting up the world that the rest of the game will take place in, reintroducing many of the characters from the previous games and filling in their stories of the past year that Zoe’s been out of action. Whilst the majority of the story is exposed to you directly there’s a fair amount of detail crammed into Zoe’s journal which can be a little bit of a chore to read through. Given the time between the previous game and this one though it almost feels like it’d be worthwhile playing through it again as some of the larger story elements rely heavily on the back story that was built back then. Indeed Dreamfall Chapters isn’t designed for those who are just becoming familiar with the franchise as it leans heavily on what came before it.
In terms of the story of this instalment it’s clear that the primary focus was on setting up the initial world that the following chapters will build upon. Considering the wealth of background that’s available in 2 other games they can somewhat get a free pass for not developing the characters much however if you’re looking for the story of Dreamfall Chapters to go places quickly you’ll unfortunately be disappointed. Don’t get me wrong though, there’s a lot to love in here, you’re just not going to be cemented to your seat from the second you click play.
Dreamfall Chapters fills a hole that’s long been in many gamer’s hearts, continuing the story of Zoe Castillo that felt like it was cut abruptly short at the end of the previous game. It might not have next generation graphics or play as smoothly as some other adventurers other there however it makes up for it with one of the best dialogue systems I have seen in recent times. It will be interesting to see how the player choices pan out in the greater story as they’re making a big deal about player agency and I hopeful that they will be able to deliver on it. Dreamfall Chapters really is only for fans of the series but should your interest be piqued I would heartily recommend making the investment to play through its predecessors.
Dreamfall Chapters is available on PC right now for $29.99. Total play time was 3 hours with 86% of the achievements unlocked. The writer was a backer of the Dreamfall Chapters Kickstarter at the $500 level.
I was never much of a fan of adventure style games as a kid which is why I find it oddly surprising that I’ve grown to love them as an adult. Sure the pixelart style brings with it that warm blanket of nostalgia but I really can’t say I enjoyed these types of games back in their original heyday. The renaissance that these types of games are going through has helped me make up for lost time somewhat, especially considering the number of games I churn through in a year. A Golden Wake, developed by Grundislav Games and published by Wadjet Eye Games, is the latest installment in the pixelart adventure genre, sporting craftsmanship that’s well above it’s 1 man studio station.
Alife Banks had everything going for him, a great job in the best city in the world and the respect and admiration of his peers. At least that’s what he thought as his namesake bred jealousy among his peers and one fateful day he was framed for something he didn’t commit. Undeterred however Alfie set out for the wild lands of Miami where a new real estate development, called Coral Gables, was underway. It was here that he’d restore the family name to the glory that it once had, all while making him rich and famous in the process.
I’ve come to notice that there’s 2 distinct kinds of pixelart games: those that use the medium for it’s minimalistic nature (often imbuing their own artistic style into it) and those who seek to recreate the style that was present during the golden age of gaming. A Golden Wake is very much the latter, lovingly recreating the arts style that was made popular by the numerous titles released under the LucasArts brand. It’s not exactly what you’d call a pretty game but the style is most certainly deliberate, an attempt at capturing the essence of what the 1920s would have been like.
A Golden Wake plays like your traditional adventure game although, like many of its modern brethren, it manages to avoid many of the pitfalls that plagued such titles of decades past. You’ve got a small inventory which holds all the items you’ll find on your adventures (of which you’ll ever only have a handful of) and a number of puzzles that you’ll have to solve before you can move the story forward. Some of these puzzles are pretty rudimentary, like having to speak to certain people, whilst others will force you to look around the environment searching for that clue which will allow you to progress forward. If you’re a long time fan of the adventure genre you’ll definitely feel at home in A Golden Wake but even newcomers to the genre should find it easy enough to pick up.
For the most part the game plays pretty well as the puzzles are logical, sequential and can often be solved within the space you’ll find them in. There are a few puzzles which had me stumped for a good while however, mostly because I was following a line of thinking that didn’t match up with the creator’s. It’s hard for me to fault the game for this as once I found the answers it was obvious that I was overthinking the solution. The game also tries to prod you in the right direction by leaving areas open that you still need to visit in order to do something which can be a huge help when you think you were done with a particular area.
There seem to be a few teething issues with the initial release however, seemingly around the Steam overlay and ALT-TABing the game. If I ever answered a chat message from one of my friends within the game it seemed to think one of the keys was stuck down and any dialogue would rapidly flit by. This would be fine if I could, say, reload from a checkpoint to hear it again but unfortunately that relies on you saving constantly. Whilst I don’t think I missed any super critical dialogue because of it (when it happened I’d immediately save and restart the game) it happened often enough to cause me a non-trivial amount of frustration.
Like I’ve said numerous times before I can often forgive even some of the gravest mistakes a game makes if the story is good however for A Golden Wake there’s not much I can overlook, unfortunately. Whilst I can appreciate the effort put into building Alfie’s character up the eventual turn happens far too suddenly and, if you choose certain dialogue choices, makes absolutely 0 sense. The last half is definitely far more engaging than the first which you could potentially attribute to all the setup that happens however it honestly feels like the story just goes no where for a while before finally making up its mind on where it needs to be. Credit is to be given for creating what feels like a realistic depiction of the 1920s however, and not just the romanticised version that many writers would have otherwise created.
A Golden Wake might not seem like an ambitious project on the surface, being yet another pixelart adventure game, however I can’t think of any other game that I could directly compare it to. Sure the adventure game mechanics are familiar and the art style is straight out of the LucasArt playbook but none have tried to create an experience like that found in A Golden Wake. Whilst it’s far from a perfect execution, including a story that goes no where for half the play time and a client that still harbors a few bugs, I do admire the ambition behind it. Still it’s hard for me to recommend it for anyone but die hard fans of the genre as they’re probably the only ones who’ll appreciate the craftsmanship and ambition behind A Golden Wake.
A Golden Wake is available on PC right now for $14.99. Total play time was 4 hours with 22% of the achievements unlocked. A copy of this game was provided to The Refined Geek by Wadjet Eye Games for the purposes of reviewing.
A lot of retro styled games rely on the aesthetic to conjure up a sense of nostalgia for us long time gamers, hoping to link us up with experiences past in the hope that some of it will translate across. Back when that idea was still new I have to admit that it worked quite well although as time has gone on the differences between modern retro titles and their ancestors have become more stark, removing that sense of nostalgia completely. There are few games that manage to capture both the aesthetic and the essence of what made those games so memorable and I’m happy to say that I now count Shovel Knight among them.
You are Shovel Knight, a brave warrior whose weapon of choice isn’t exactly mainstream. You’ve seen many adventures always with your most trusted compatriate, Shield Knight, by your side. However one day, when exploring the Tower of Fate, you both fall under the power of the Dark Amulet. When you awaken Shield Knight is no where to be seen and you give up adventuring while you mourn her loss. However The Enchantress, an evil and powerful witch, has arisen in your absence spreading her evil across your land. When you hear she has unlocked the Tower of Fate once again you resolve to pick up your shovel once again and to rid your land of the darkness that now grips it.
Shovel Knight is visually reminiscent of the action adventure games of old with many of the visual elements being readily recognisable. Indeed the rendition was done so well that I figured there was no way it was using some kind of modern engine as everything really did have a retro feel about it. The end credits revealed it does use Box2D for its physics which has obviously been tuned to give it a much more retro feel. The music and foley also feels like it’s right out of a NES title, retaining that lo-fi quality and signature sound that games of that era had. If I’m honest it feels like the most honest recreation of an old pixelart game to date, eschewing any modern improvements in favour of keeping that nostalgia feeling alive.
In terms of gameplay Shovel Knight again feels awfully familiar, taking the tried and true mechanics from games of ages past and adding in a little of its own flair. The combat feels much like the Zelda games of old where you’ll be jumping, dodging and swinging your weapon wildly in order to defeat your foes. There’s also the tried and true platform sections, many of which rely on you using the various relics you’ve acquired in order to progress past them. You can also upgrade/modify your character in order to suit your playstyle, enabling a multitude of different ways to progress through the game. Lastly, if that isn’t enough for you, there’s dozens of achievements and challenges for you to complete, some of which require a great deal of skill to accomplish.
In the beginning the combat feels a little weird which I can pretty much wholly attribute to my use of the keyboard. You see just like the games which Shovel Knight takes inspiration from it was most certainly designed with a controller in mind as the keyboard setup is most certainly not intuitive. However once I got past that hurdle I actually felt that it was quite forgiving, especially after you got up a couple of the more broken items (the Phase Amulet especially). Indeed after the first couple bosses I found that I could usually cheese my way through them after a single death, something I definitely couldn’t say about say Zelda back in the day.
That being said the platforming, whilst being well thought out and challenging in the right ways most of the time, had more “fuck you player” moments than I’d like. These are things that you can’t plan for (like enemies appearing out of no where) or the introduction of new mechanics without an indication as to what they do. This is somewhat in the spirit of the game as a lot of titles from early nineties didn’t do this either, however that doesn’t stop these things from sucking out some of the fun in an otherwise great game. The rather generous recovery mechanic makes up for this a little bit although that can sometimes lead you into a horrible spiral of dying simply because you’re trying to recover your gold.
What is quite impressive about Shovel Knight is the sheer amount of variety that’s in the game. Every level has its own distinct theme with numerous different types of enemies and mechanics, meaning that no 2 levels feel quite the same. Sure there are some things you’ll learn in early levels that will come in handy later on but for the most part each level will be an experience in learning how to deal with the various challenges at hand. This then feeds into the bosses and the wandering encounters in the overworld, each of which has its own unique mechanics which you’ll need to exploit.
Actually thinking about it more this is probably one of the better examples of how to design to a pick up/put down style platform (the 3DS in Shovel Knight’s case). Each of the levels can be over in 10~20 minutes, even less for the wandering boss encounters or the other loot extravaganza levels, and all of them have their own style. Usually this would be something of a negative however in Shovel Knight’s case it actually made for a rather well paced game, one I invested a lot more time in than I would have otherwise done previously. Sure it wasn’t an exceptionally long game by any means but I still far more engaged with it than I have done with many of my previous reviews.
The story of Shovel Knight is fairly simplistic, usually being not much more than something to provide some witty dialogue between you and the boss you’re about to fight, but it’s more than enough to keep the game going. It really only comes to fruition in the last hour or so of gameplay and in that respect it does tie everything together quite well. However Shovel Knight isn’t a game you should be playing for the story as its mechanics are by far the strong point.
Shovel Knight sets the standard for titles that want to capture that feeling of games from ages past, faithfully recreating everything in a wonderful take on the old school action adventure. The graphics, music and sound all feel like they were ripped out of a long abandon title and then given life in a modern game environment. The gameplay, once you get past the initial teething phase, is very well done even if it can feel a little too easy at times. The story is probably the weakest aspect of the whole Shovel Knight experience but, thankfully, it doesn’t detract too heavily from it. If you’re a long time gamer like myself you’ll find a lot to love in Shovel Knight and I’d heartily recommend giving it a play through.
Shovel Knight is available on the PC, Nintendo 3DS and Nintendo Wii U right now for $15, $14.99 and $14.99 respectively. Total game time was 6 hours with 27% of the achievements unlocked.